Billie Holiday Commodore Master Takes Genres:Jazz, Pop, Broadway & Vocalists These historic recordings--made mostly in 1939--represent a crucial period for Billie Holiday, who had already achieved some success as a jazz singer recording for Columbia but had yet to really reach her peak as a perform... more »er or icon. The Commodore Master Takes, recorded for Milt Gabler's small independent label, were a step towards Holiday's eventual infamy, thanks notably to the recording of "Strange Fruit," a controversial song about lynching that Columbia Records simply refused. Recording with several small bands that seemed to understand the nuances of her voice perfectly, Holiday is in full command of her faculties here, without a trace of her later deterioration. Instead, we have a singer bearing all the bittersweet conviction of the best blues stylists. Songs like "How Am I to Know?" and "My Old Flame" simply smolder, and the band's support is understated, not overpowering. Holiday is the show here. In its own way, that sets a precedent, considering this was still the big-band era, and a jazz singer with such sparse backing was still an anomaly. Excellent liner notes by Orrin Keepnews--who explains how his own relationship with Billie Holiday was sometimes rocky--complete the picture. --Joe S. Harrington« less
These historic recordings--made mostly in 1939--represent a crucial period for Billie Holiday, who had already achieved some success as a jazz singer recording for Columbia but had yet to really reach her peak as a performer or icon. The Commodore Master Takes, recorded for Milt Gabler's small independent label, were a step towards Holiday's eventual infamy, thanks notably to the recording of "Strange Fruit," a controversial song about lynching that Columbia Records simply refused. Recording with several small bands that seemed to understand the nuances of her voice perfectly, Holiday is in full command of her faculties here, without a trace of her later deterioration. Instead, we have a singer bearing all the bittersweet conviction of the best blues stylists. Songs like "How Am I to Know?" and "My Old Flame" simply smolder, and the band's support is understated, not overpowering. Holiday is the show here. In its own way, that sets a precedent, considering this was still the big-band era, and a jazz singer with such sparse backing was still an anomaly. Excellent liner notes by Orrin Keepnews--who explains how his own relationship with Billie Holiday was sometimes rocky--complete the picture. --Joe S. Harrington
jota | College Park, MD United States | 11/25/2001
(5 out of 5 stars)
"The "official" amazon.com review above says that these recordings wrre made "mostly" in 1939, which is misleading; four of the tunes, among them "Strange Fruit," were recorded then, but the other twelve are from 1944. The reviewer also says that the recordings contain no traces of her later "deterioration," but I hear considerably more raggedness here than on the earlier Columbia recordings. This isn't a criticism; these sides, I think, strike just the proper blanace between the chipper just-one-of-the guys vibe of the Columbias and the sometimes oppressively tragic atmosphere of the later Verve albums.These are small-group recordings, but the accompaniments are more low-key than on the Columbias and the instrumentalists get much less solo space. So there is nothing here akin to Holiday's relationship with Lester Young on those earlier recordings. On the other hand, the material on the Commodores is superior; she recorded only the finest standards and blues, as opposed to the hokum she was regularly forced to deal with for Columbia. As for highlights, "Strange Fruit" is a remarkable historical document, more effective as moving propaganda than as a popular song. "I Cover the Waterfront" is one of the best versions of a classic tune, and her version of "How Am I To Know?" is especially striking, as she begins her vocal with a dramatically isolated "Oh!" before beginning her mournful reading of the lyric."
At her peak
Nikica Gilic | 06/25/2007
(5 out of 5 stars)
"This is the great (and quite possibly the greatest) Billie Holiday at her peak, singing "Fine and Mellow", "I'll Get By", "Billie's Blues", "I Gotta Right to Sing the Blues"...
I'm not such a big fan of "Strange Fruit", although I recognize and commend its political and ethical significance.
It is only a pitty the fine musicians, such as Frankie Newton on trumpet or Vic Dickenson on trombone were not put to a better use...
Billie's earlier recordings with the Prez, Teddy Wilson, Roy Eldridge and other jazz giants prove how even she can grow in good company; her late recordings, where she had very little voice left also speak for this; on Sound of jazz she delivered Fine and Mellow as fine and mellow as anything she had ever recorded, and with Ben Webster and Harry Edison, her late (and potentially sad) recordings still provide some fine music...
Still, this IS Billie at her peak; her rhythm, melody and timbre impeccable, gently swinging like no other singer..."
Valuable record of a great American singer.
David Bonesteel | Fresno, CA United States | 08/22/2005
(5 out of 5 stars)
"Billie Holiday's beguiling voice reaches out to us across a span of greater than 60 years and still succeeds at enchanting the discerning listener. This is an excellent collection of blues and jazz standards, interpreted by a master. Of particular note is the startling and graphic "Strange Fruit," a mournful lament about lynching that is one of the most chilling pieces I have ever heard; one listen and you'll understand why it was suppressed in its time and also how courageous Billie must have been to record it in the first place. (The first time I heard it, I had just put out the lights and was lying in bed in the dark; talk about getting the shivers!) Other standout tracks include "I Cover the Waterfront" and "I'll Be Seeing You," but there really isn't any fat on this disk at all."
Billie is outstanding and so special as always--BRAVO, BILLI
Matthew G. Sherwin | last seen screaming at Amazon customer service | 07/13/2009
(5 out of 5 stars)
"The Commodore Master Takes has excellent songs all performed by one of the greatest songbirds ever, that masterful Billie Holiday, also known as "Lady Day." Billie could take anything and make it sound better than just about anyone else ever could; and that's truly remarkable. Billie always sang with a great deal of genuine passion; it's as if she was truly experiencing every little nuance of all the feelings conveyed by the lyrics of the songs she performs. She may have left us all too soon; but of course she lives on very well through her songs and music. The quality of the sound on this CD is pretty good considering the age of these recordings.
"Strange Fruit," one of Billie's standards, starts the CD with Billie singing her heart out; and it has a fine piano arrangement as well. Wow! "Fine and Mellow" features Billie squarely in the spotlight; her excellent diction is impressive and it enhances her performance all the more. "I Gotta Right To Sing the Blues" is very nicely done; Billie gives this the royal treatment and she sways gently to give this blues number just the right touch--excellent! I love it.
"How Am I To Know?" has Billie front and center; the quality of this track is really quite good. The music that plays certainly provides the perfect accompaniment to Billie's vocals, too. In addition, "I'll Get By (As Long As I Have You)" stuns me with its beauty; Billie delivers this like the champ she always was and always will remain! "I'll Get By (As Long As I Have You)" is quite a strong highlight of this album; I could never tire of hearing Billie perform this. The brass sounds so good as she sings, too. "I Cover the Waterfront" has a slow bluesy tempo; and listen for Billie to outdo even herself on "I'll Be Seeing You." "I'll Be Seeing You" has always been one of my favorite classic tunes and Billie does great justice to it--it's wondrous!
"Embraceable You" just doesn't get any better than it does when Billie Holiday sings it; she delves deep to make this ballad shine brighter than silver and gold combined! "Embraceable You" is a sublime Gershwin tune that Billie handles with grace and elegance; and the music is equally elegant. "As Time Goes By" was sung by Dooley Wilson in the movie "Casablanca;" and I think he would have been proud of Billie's rendition! "He's Funny That Way" is another outstanding number that Billie aces as effortlessly as if it were mere breathing--but of course we know that it really wasn't all that easy. Billie's talent always carried her through.
"Billie's Blues" is very memorable; and the album ends so very well with Billie Holiday performing "On the Sunny Side of the Street." "On the Sunny Side of the Street" sparkles bright in Billie's capable hands; and it leaves me wanting more.
I highly recommend this CD for Billie's fans. In addition, this CD is so good it's also a wonderful starter album for newcomers to Billie Holiday's incredible artistry."